Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"During the war everything was in a state of ferment. The abilities and skills which I had brought with me from the academy were of no use whatsoever; and all around me people were fighting about stupid things which I myself couldn't have cared less about…and then, all of a sudden, the glorious revolution began. I don't think much of such revolutions, for people must be ready for them. It's like apples being shaken to the ground by the wind before they've time to ripen, such a shame. But it put an end to that enormous swindle which people call war. I quit my job without notice and then things really got moving. The turmoil had only just begun. At last I felt free, and I gave vent to my jubilation in a loud outburst. Not being wasteful, I took everything with me that I could find, for we were now an impoverished country. One can also shout with junk—and this I did, nailing and gluing it together." Kurt Schwitters, quoted by essayist Karin Orchard in Schwitters in Norway.
Hero of Dada, Constructivist virtuoso, patron saint of collage, sound poetry and installation art, Schwitters made his greatest impact in the postwar era--while he himself was living in relative seclusion in the north of England--influencing American Pop art (especially Robert Rauschenberg's Combines), Fluxus and assemblage art throughout Europe and America; artists as different as Damien Hirst and Ed Ruscha cite him as an influence.
Published by Bernard Jacobson Gallery. Text by Mel Gooding.
Kurt Schwitters: Artist Philosopher is published to accompany an exhibition at Bernard Jacobson Gallery, London. In his essay Mel Gooding focuses on what Kurt Schwitters is most famous for—the abstract collages that he began to make in the winter of 1918/19 using found and everyday objects such as labels, bus tickets, fabric and bits of broken wood. They were born out of his feeling that, after the war, "Everything had broken down and new things had to be made out of the fragments; and this is Merz." Schwitters' undogmatic and nonelitist art, by elevating the rejected, the discarded and the useless to fine art, inspired such postwar pioneers as Jasper Johns, Robert Rauschenberg, Eduardo Paolozzi, Richard Hamilton and Joseph Beuys, and he is now seen as the grandfather of many post-1945 art movements, from Pop art to Conceptual, installation and performance art.
PUBLISHER Bernard Jacobson Gallery
BOOK FORMAT Paperback, 5.25 x 7.75 in. / 78 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 8/31/2014 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 153
PRODUCT DETAILS ISBN 9781872784526TRADE List Price: $16.95 CDN $24.00 GBP £14.99
Published by Hatje Cantz. Text by Roger Cardinal. Gwendolen Webster.
The influence of Kurt Schwitters (1887-1948) permeates the art, literature and music of the past century as profoundly as any of his contemporaries. Hero of Dada, Constructivist virtuoso, patron saint of collage, sound poetry and installation art, Schwitters made his greatest impact in the postwar era--while he himself was living in relative seclusion in the north of England--influencing American Pop art (especially Robert Rauschenberg's Combines), Fluxus and assemblage art throughout Europe and America; artists as different as Damien Hirst and Ed Ruscha cite him as an influence. This volume is the first serious broad survey of Schwitters' work in 25 years, and attests to his omnipresent influence today. It draws on recent research into the Merzbau interiors, and gathers all aspects of his output, from collage to typography and architecture, into one glorious testimonial to Schwitters' libidinously prolific oeuvre. With texts by British art historian Roger Cardinal and Schwitters scholar Gwendolen Webster, this volume presents a new Schwitters for our times.
Published by Exact Change. By Kurt Schwitters. Edited and translated by Jerome Rothenberg and Pierre Joris.
Kurt Schwitters' stated goal was to "erase the boundaries between the arts." This collection, culled from the five-volume German edition of Schwitters' writings, introduces the total work of art that is Merz through Schwitters' words. Included is the complete text for the "Ursonate," Schwitters' legendary and lengthy epic of sound poetry, which, as poets, editors and translators Jerome Rothenberg and Pierre Joris comment, "is to sound poetry what Joyce's Ulysses is to the twentieth-century novel.
Published by Hatje Cantz. Edited by Karin Orchard. Text by Terje Thingvold, Isabel Schulz.
In the 1930s, anyone traveling to Djupvasshytta in Norway might have run into the improbable figure of Kurt Schwitters, selling his landscapes and portraits to visiting tourists. Schwitters (1887–1948) had discovered the beauty of Norway on his first trip there in 1929, subsequently holidaying in the northwestern part of the country. In January 1937, the artist followed his son Ernst into exile, and constructed his second Merzbau, the Haus am Bakken (House on the Slope), near Oslo, where he remained until the Germans moved in to occupy the country in April 1940. Schwitters in Norway is the first book to examine the stylistically looser and more colorful collages and assemblages, with their pronounced use of natural materials such as stone, driftwood and feathers, as well as the abstract and landscape paintings, from this particularly productive period of the artist's life. With nearly 100 color plates, this volume greatly enriches our picture of one of last century's most influential artists.
Published by Hatje Cantz. Artwork by Kurt Schwitters.
Although Kurt Schwitters was one of the most influential artists of international Modernism, only select portions of his immensely varied body of pictorial work have been investigated thoroughly. And what a body of work it is, unlike one ever seen before or after, combining bits of found detritus into compositions of tight, unexpected melodies and startling tunes. Schwitters was constantly sighting scraps of handbills, train tickets, newspapers, clothing and more on the city streets, pocketing them for later use in one of his Merz collages. His intense body of found object constructions stands as one of the premier examples of the ultimtate modern form, assemblage, of which he has been called the “grandfather.” After extensive research worldwide and a complete examination of his artistic estate, Schwitters's oeuvre has finally been properly acknowledged, documented, and prepared for public presentation. The comprehensive Kurt Schwitters Catalogue Raisonné, of which the present volume is the third and final installation, includes more than four thousand works from the period between 1905 and 1948, many of them published for the first time. Lost and destroyed works are documented whenever possible. For ease of reference, the survey is ordered chronologically; within each year, works are sub-divided according to genre. In this third volume are presented creations spanning Schwitters' years in exile, 1937 to 1948, when he escaped Nazi Germany to live first in Norway and then in England. Though artworks are primarily reproduced in black-and-white, each volume of the catalogue also presents color reproductions of representative works.
Published by Hatje Cantz. Artwork by Kurt Schwitters. Edited by Karin Orchard, Isabel Schulz, Inka Schube.
There is scarcely an artist working today, provided they use materials other than paint, who does not refer to Kurt Schwitters in some way. In his bold and wide-ranging experiments, his prodigious collages and ground-breaking environments, he can be seen as the grandfather of Pop art, happenings, concept art, Fluxus, multimedia art, and even postmodernism--yet only certain parts of his immensely varied pictorial work have been thoroughly investigated. From the Dadaist collages to the final, partial incarnation of the “Merzbau” in the Lake District of England, Schwitters's oeuvre is here documented and properly acknowledged for the first time in a three-volume catalogue raisonné, of which this is the second installment. More than 4,000 works produced between 1905 and 1948, among them numerous previously unpublished, destroyed and lost pictures and paintings, are presented in this authoritative compendium, following worldwide research and a complete viewing of his artistic estate. The artist's works are ordered chronologically and then according to genre, and illustrated in black and white; select representative works appear in color. This second volume covers the years from 1923 to 1936, a period in which Schwitters added steadily to his Hanover Merzbau and in which his work reflected his struggle with international Constructivism. The volume ends with his 1937 flight from Germany. This publication is edited by the Sprengel Museum, Hanover, with the help of Karin Orchard and Isabel Schulz on behalf of the Norddeutsche Landesbank and the Stadtsparkasse Hanover. Also Available: Kurt Schwitters Catalogue Raisonné: Volume I 1905-1922 Hbk, 10 x 12 in. / 552 pgs / 150 color and 950 b&w ISBN: 30-7757-0926-6 $250 Hatje Cantz Publishers Kurt Schwitters Catalogue Raisonné: Volume 3 1937-1948 Hatje Cantz Publishers
Published by Hatje Cantz. Artwork by Kurt Schwitters.
Kurt Schwitters was one of the most influential, groundbreaking and forward-looking artists of Modernism, yet only certain areas of his immensely diverse oeuvre have been thoroughly investigated and catalogued. With this massive first volume of a landmark three-volume catalogue raisonné that oeuvre has now been fully documented for the first time, bringing to light many of Schwitters' previously unpublished collages, drawings and paintings. This first volume covers the artist's early years, from 1905 to 1922, with little-known works from the period prior to World War I, as well as the earliest Merz pieces he created between 1918 and 1922. The works are organized chronologically and, within years, according to genre. The book also features a detailed and illustrated biography of the artist.